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Mrl Mrs Address City/State/Zip tn Canada, mati to lord & Burnham O.I ltd., St COlhorines, Onto #19 /t. "A 4' '. ", - . --a !1J!' IlIf" I .. ,. 'PI I TG alind Russell version of HAuntie Mame," but all the intangibles of cast- ing and spirit and touch seem to have dried up, despite everybody's best in- tentions. Even the dynamics of the plot go wrong, when Augusta is pointlessly humiliated. Watching Maggie Smith, I 1 emem bered Constance Collier as the battered old acting coach in HS tage Door" who was tutoring the icy young KatharIne Hepburn for her àébut; in a last surge of hope for her own long- LLbandoned career, she asked the pro- ducer, HCould you see an older WOffidn in the part?" The answer here i,; yes. Augusta has no real zing, and Henry is so stodgy a cIpher (as he was in the buuk) that your mind wanders from McCowen, who is perfectly good and totally uninterestIng, to wonder if .l\lec Guinness might have been able to do more with Henry-give him, perhaps, a furtive spark for Augusta to fan. vVhen you begin to speculate about whu should have played a role, it means that the person on the screen duesn' t touch your imagination and isn't going to leave much trace on your memory And though this movie isn't painfully bad, just about everyone in it, from the bottom up, seems miscast. ..J P ROBABLY many others feel about Paul Newman as I do: I like him so much I always want his pictures to be good, for his sake as well as for my enjoyment. Newman is throwing awaY a lot of beautiful good will because of his bad judgment. The people who go to see "The Life and Times of T udge Roy I3ean" go because they like him, and it's a logy, thick-skinned movie that seems to spend lTIOSt of its time trying to tone down the moral ugli- ness of its premises. Basically, it's another of the spinoffs from "Butch Cassidy and the Sundance Kid," this one, too, featuring nihilism plus senti- 111entalit), which comes in the form of building up emo- tion for the star. Newman cnnkles up so prett) when he smiles that he looks darling killing people, so even the large-scale carnage is cute. In HRo) B " . h I H J ' I ean, dS In tea so current cremia 1 J ohn"on," the writer, John Milius, pro- vides Ll brutal, absurdist landscape while he is working up Sj mpathy for his 1.lien- <lted modern version of a rugged In- dividualist. Milius, d former University of Southern California film student, still in his twenties, received three hun- dred thousand dollars for his original screenplay for "Roy Bean," but other film students may know what's coming JANUARY ,.3, , 9 7 :} in just about every scene, because the), too, have seen the mOVIes (John Ford, Kurosawa, Jodorowskj) that have fed Milius's imagination. It used to be that the studios canni- balized their own propertIes; now film students cannibalize their own favol- ites-a dubious tribute-and the sour joke is compounded here, because John Huston, whose finest work broke with the clichés that Milius feeds upon, is the director. After the explanatory data about Texas "near the turn of the last century," we're given the lead-In to the action-"Maybe this isn't the way it was. It's the way it should have been"-and I thought, I haven't read that tItle in decades. And then we get the opening shots of the stranger, Roy Bean, an outlaw, coming into town and into a saloon where a whole troupe of amoral monsters-a fat womd,n be- ing bathed, freakily taciturn men, silent whores-set upon him, without provo- cation (in fact, just as he is buying them drinks), and rob and beat 111m and put a rope around his neck, to strangle him while he is being dragged through the desert by his horse. 'I'he snapping of the rope saves him. Even before the young Mexican angel came to give him water, I knew I'd seen this stuff fairly recently-in HEI Topo," of course. And, just like El Topo, Roy Bean comeS back in righteous wrath to clean up that town full of besotted monsters, and, singlehanded, blasts them down. The big scenes don't gro\v ou t of anythIng, and there are no characters- just mannerisms. In the published ver- sion of the script, that "It's the way it should have been" is followed by Hand further- more the author does not give a plug damn." This spirit seems to have carried through the whole production, which is full of the kind of inside jokes that do so little for an audience they ggest school- boy pranks. Newman, his voice lowered to a gruff, nonmusical level, sounds like John Huston. Hiding in a bedrd throughout, he also goes in for a lot of beer-drInklng. What \vith the actor's dnd the director's for- mel associates turning up to do "cam- eos," the movie often resembles a log- rolling politicians' picnic. Stacy Keach appears in a camp vignette as a wild al- bino-he has his onl) moment of screen c0111edy so far, as his hands quiver at his ide eager tu draw. It's a funny bit, hut it belongs in a revue parody of "El Topo," not in this mock epic that keeps turning serious. The movie is made of